University of Linköping Arts and Sciences Faculty
VIRTUAL REALITY AS A PHENOMENON OF ART Supervisor: Jan Willner Student: Laurynas Drazdauskas Linköping 2006
Title VIRTUAL REALITY AS A PHENOMENON OF ART
Author LAURYNAS DRAZDAUSKAS
Abstract In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional simulators and video games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization. Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.
Key-words
VIRTUAL REALITY, SIMULATOR, VIDEO GAME, ART, INGARDEN R., AESTHETICAL VALUE.
1
TABLE OF CONTENTS
ACKNOWLEDGEMENT ...... 3
ABSTRACT ...... 4
INTRODUCTION...... 5
1. THE COGNITION OF THE VIRTUAL REALITY...... 7
1.1. Interaction – the main Condition for the Cognition of VR...... 7
1.2. An Attempt to cognize the VR: the Layers of the Work of Art...... 10
2. IS VIRTUAL REALITY (SPECIFICALLY SIMULATOR AND VIDEO-GAME) A FORM OF ART? ...... 18
2.1. The Aesthetical Values of VR...... 18
2.2. VR – as a Product and a Work of Art...... 21
CONCLUSIONS...... 22
BIBLIOGRAPHY...... 23
INTERNET SOURCES ...... 24
2 ACKNOWLEDGEMENT I am very grateful to my supervisor, docent Jan Willner let me to stay for the other semester in the University of Linköping. I am thankful for the idea to use the system of Roman Ingarden in my work, also for the time, guidance and directions writing this essay. Also I want to say thanks a lot to my parents Rita and Vytautas, who always kept up the spirit in hard times. Thanks to my little son Benetas, who was waiting for the return of his daddy. I owe you people so much!
3 ABSTRACT
In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional simulators and video games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization. Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art. KEYWORDS
VIRTUAL REALITY, SIMULATOR, VIDEO GAME, ART, INGARDEN R., AESTHETICAL VALUE.
4 INTRODUCTION
The term “Virtual Reality” 1 was coined by Jaron Lanier in 1986. Specifically this term was created for a technological phenomenon, which “…encompasses a range of interactive computer environments, from text oriented on line forums and multiplayer games to complex simulations that combine audio; video, animation, or three dimensional graphics; and scent… A successful VR environment offers users immersion, navigation, and manipulation.” 2 Equivalent to “VR” can be used such terms as “Virtual Environment”, “…computer generated simulation of a real environment or experience. Also called visual simulation (VizSim)… or …artificial reality, synthetic environment.” 3 VR includes such electronic works as video games and simulators (which are not just games any more). Nowadays simulators as well as electronic games have a broad appliance in the practical, educational field. They are applied in medicine and in military spheres and are uses for the purpose of the training of special skills (like flight simulators help for pilots to gain some experience) or for the development of mental abilities (e.g. strategic video games). VR is also used in psychological inquiry. ”Psychologists collaborate with computer scientists to design virtual reality training systems for use in safety sensitive occupations.” 4 And our research will be concentrated on the epistemological as well as on the aesthetical aspects of VR. Thus the first objective , the epistemological one, of this work is the cognition of the computer’s created reality (specifically video games and their sequence – simulators). The concept includes three levels of the cognition: perceiving, interpreting and individualization of VR. The cognition should help to find the aesthetical values of VR. This might answer our question: May a work of Virtual Reality such as video game and simulator – be called work of art? That is the second objective of this essay. We are going to use the analysis of the work of art of the most prominent philosopher in this field – Roman Ingarden. We will be using his books mainly “The Literary Work of Art” and “The Cognition of the Literary Work of Art”, also “Four Critics: Croce, Valery, Lukacs, and
1 Thereinafter we use shortening for the “Virtual Reality” – “VR”. 2 The Columbia Encyclopedia, Sixth Edition . Encyclopedia Article Title: Virtual Reality . New York. 2004. P. 49737 3 John C. Briggs, Virtual Reality Is Getting Real: Prepare to Meet Your Clone. “The Futurist” (Volume: 36. Issue: 3. Publication Date: May 2002.) P. 34+ 4 Robert A. Baron, Psychology (MA: A Viacom Company, 1998) P.110 5 Ingarden” by RenÉ Wellek. The main ideas and the concept of the layers of the literary work of art let us identify and interpret structures of Virtual Reality plus it will help analyze the aesthetical values of the VR.
6 1. THE COGNITION OF THE VIRTUAL REALITY
1.1. Interaction – the main Condition for the Cognition of VR.
A person as being part of the nature necessarily creates and tames his/her milieu. It would be mistaken arguing “Virtual Reality” as a brand new phenomenon of the 20 th century. The germs of VR can be found in the early ages of the humankind, when man left the cave and saw something in the surrounding that made impression for him/her, and then he/she began to draw images of the animals on the walls of the cave. The image was taken from the spectacle and realized on the wall of the cave thus becoming not real, but a copy, an imitation of the real object which we can call virtual image. “Even prehistoric cave paintings gave the viewer something of the experience of seeing animals that were not actually there” 5. Also we may infer here that these first paintings announced the advent of the visual art. Time has passed, virtual image progressed to sign; symbol and the groups of these symbols became written language, language which is a tool for communication and interaction, a tool that helps understanding other people. Images of the animals becoming symbols were like the living and the meaning of these symbols wasn’t only convention between communities of people. These symbols were carrying “being”. Humans created homes for them: surrounding and soul, he/she was trying to make their world in that still alien universe; and one of the solutions was art. Art was not only as implementation of oneself, but even more, it was an attempt to understand, interpret the place and essence of oneself being in this world. Images of the animal on the wall of the cave of its creator weren’t single acting; it was also a dedication to other persons, to those who are coming in the future, that is to say a communication and interaction with others. As we see now, not only language, but also any form of art is a dialogue. A work of art utters, speaks to us as well as the direct speech of person. A work of art always has a meaning, but it is hidden or should we say coded, so we may find a key to “unlock”, to reach it. This key could be an interaction, a communication with a work of art because without communication there will be no cognition possible. In VR, playing a video game you should accept the rules, otherwise interaction will be broken between the player and the game. In the other words if
5 David Deutsch, The Fabric of Reality (London: The Penguin Press, 1997) P. 99 7 someone wants get to know something/someone, he/she first of all should fall in love (and love is an interaction) with this object (that is an ideal of the Ancient Greeks’ philosophers). In the artificial environment dialogue, interaction can be simulated literally. We can communicate with synthetic characters, surroundings etc. It is an interaction that immerses us in VR. Moreover as the intention of VR is to usurp the user, it tries to subordinate as many senses as possible, today it isn’t enough to see and hear, it’s possible to use other senses even smell, motion and also to simulate vibrations. The keyword for combination of these stimuli in made reality is called “Multimedia” (we shall comeback to it later). The first two senses (sight and ear) must be the strongest and most important creating artificial reality. And also finally the wish of Friedrich Nietzsche becomes possible, but virtual and not real VR offers unique opportunity to control, manipulate and rule the virtual character and processes in the artificial world. Control of situation, character or whatever is one of the most important features of VR and that requires participation, to come into the play. Participation guarantees self identification, self projection for instance with hero, machine of the game. It is usual to hear player saying ‘I jump’, ‘I shoot’, ‘I drive’ etc. Consciousness identifies itself with processes going on outside it. VR – as any other tool (e.g. computer), phenomenologically speaking, is the extension of our body. Manipulations of the processes let us to realize our intentions, as it is with our own bodies, we can move, id est change spatial surroundings, travel through a synthetic world experiencing it also as aesthetical phenomenon 6. We must not forget the author of the VR (programmer, designer or an engineer), or the artist of the work of art. That is the first stage of the three stages the existence of the work; thanks to the creators we have these works. The other two stages are discussed already: created form of art and a person who perceives it. In the VR the situation is the same, only a work of VR can be called “software” (it may be with some hardware additions) – and again, there is a person who perceives it (might be called a player, a user). Work of VR as well as work of art has a paradoxical state: once it is created it becomes independent, as Roman Ingarden points out – “…it is independent of the creative acts of its author, as well as from any perceptual acts” 7. That means author, as well as the reader “…with all his vicissitudes, experiences, and psychic states, remains completely outside the literary work.” 8
6 We interpret the phrase by F. Nietzsche “world – as aesthetical phenomenon” here. 7 Wojciech Chojna, Ingarden, Roman Ontology of the Work of Art: The Musical Work; The Picture; The Architectural Work; The Film . “The Journal of Aesthetics and Art Criticism” (Winter90, Vol. 48 Issue 1) P.85 8 Roman Ingarden, The Literary Work of Art trans. George G. Grabowicz (Evanston, ILL.: Northwestern University Press, 1973) P.22 8 On the other hand works of art exists only by our grace 9. In general, the main condition to exist for a work of VR or art is an addressee for whom it is created. Electronic or any work of art is heteronomous, dependent from conscious person 10 . That conscious person interacts with VR or work of art personally, individually. Introducing the phenomenological starting point of Roman Ingarden, we should stress that this Polish thinker is analyzing various forms works of arts from the first person perspective. It is being alone with the book, the picture, the music player, or in our case with the computer (we do not except the possibility of communication on line with others). That interaction, communication, is going between the work of art and the person who pays attention to it. As we had already shown the importance of interaction – as a necessary condition in order to cognize the VR, mainly between the work of the artist and the perceiver, we should go further to the cognition of the VR, analyzing it in the categories of the literary work of art. In the book “Literary Work of Art” by Roman Ingarden published in 1931, in German, the philosopher concentrates his view on the author of the work of art, while in another book “On the Cognition of the Literary Work of Art” (1937) – the thinker pays his attention the reader, perceiver of the work. As we had already suggested these two books is the main “nourishment” for our thinking about Virtual Reality. 9 Roman Ingarden, The Literary Work of Art trans. George G. Grabowicz (Evanston, ILL.: Northwestern University Press, 1973) P.373 10 Stuart Brown, Diané Collinson and Robert Wilkinson, Biographical Dictionary of Twentieth Century Philosophers (London: Routledge, 1996) 9 1.2. An Attempt to cognize the VR: the Layers of the Work of Art. As far as this analysis of VR is epistemological phenomenological (with some ontological moments) it should be distinguished from psychological factors, stresses RenÉ Wellek in “Four Critics: Croce, Valery, Lukacs, and Ingarden”. That means that any intentions, psychic states of creator programmer, also perceiver (player, user) should be put aside. The work must be analyzable as it is without any “add on” or reduction. Ingarden argues that the literary work of art is being neither an ideal object (e.g. a mathematical figure – like a triangle), nor a real object or artifact (statue, picture) 11 , the same can be applied to the virtual work of art. It isn’t neither an ideal object, as it is self sufficient, ontically autonomous and timeless; nor isn’t it a real object (material) – also self sufficient and autonomous, but temporal.12 It is a virtual object, “atemporal, sometimes seemingly in time” 13 . Or phenomenologically speaking – an intentional object 14 , which might exist only if someone pays attention, analyzes it (the acts of consciousness). A work of VR (video game or simulator) being an intentional object is two dimensional (two sided): it has its own structure (which is already created, that’s why constant) as well as its contents (which are uncompleted and may be variable) 15 . For example a specific computer game, on the one hand can be understood watching playing all the game (from the beginning to the end); step by step proceeding to the new levels of that game (“phases”)16 , on the other hand – every moment we have to deal with the specific components, which have strong connection with each other and it is called “layers” (“strata”) by our philosopher. That feature of two dimensions unifies the work and makes it solid. 17 To understand how this digital work is created, to find its “essential anatomy” 18 , we must make an analysis of the layers, which are important details cognizing VR. Also it will help to find the aesthetical values in the specific stratum. In the work of a synthetic environment as well as in the literary work we find four heterogeneous layers. Let us start from the first one:
11 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.57 12 ibid. 13 Edward Craig, Routledge Encyclopedia of Philosophy,Version 1.0,(CD ROM) (London: Routledge, 1998) 14 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.57 15 ibid. 16 Роман Ингарден, Исследования по естетике (Москва: ИИЛ, 1962) P.23 17 ibid. P.21 18 http://plato.stanford.edu/entries/ingarden / (accessed 05.20, 2006) 10 i. Word sound formation in literature and video audio – in the VR.
An important part of reading the word is sound (this phonetic aspect also may include “…rhythms and melodies associated with phrases…” 19 ) But with the graphical form isn’t that so. Despite of that graphical form and sound are inseparable in written text (without graphical form there will be no sound). Meanwhile, in the electronic game or simulator the main weight is concentrated on the graphical form of the work (video). The objects of the artificial environment are made of the geometrical segments (mathematical figures, forms) and that is the main condition to exist for the virtual objects. Then the properties, attributes to these geometrical segments such as colors can be added. Color “…possesses a complicated grammar and syntax of its own, as does composition, surface, and dimensionality.” 20 Colors create an aesthetical view, mood, also simulating world it can help to render the experience of reality; intensity of color is also a factor of immersion. Having these colored objects we say we have – pictures. A video game or a simulator to be playable, experienced, inevitably requires a kinetic movement (dynamics), it is the series of these images that is the motion. Motion is one of the most important features of VR. Looking back, the motion became realized in virtual media starting with “the moving pictures” id est. with new revolutionary technology for the screen. The term “animation” tells us that pictures became alive in motion. Back to VR, motion is playing a big role simulating reality; we get immersed by the accurate motion of a virtual agent or the trajectory of a virtual object from our replicated reality. Talking about the importance of graphics in the artificial reality we should not forget the huge impact of the invented rendering of the 3D technology. 3D – three dimensions in the virtual space. 3D gives a more realistic view and it is very important especially for the simulators imitating reality. All objects being in static state are two dimensional (2D), but despite of that we may anticipate an invisible side of the object. And movement in VR lets us experience almost or even all sides of the object. Thus the illusion of reality becomes more improved. Comparing written text with the visual image: “The one major difference between… text and the image …is that the latter does not preclude the individual from gaining experience without a basic literacy. Without the knowledge that nouns are, verbs do, and adjectives and adverbs qualify, written texts are inaccessible. With visual art, however, we are immersed in its
19 ibid. 20 http://www.dyske.com/index.php?view_id=812 (04.27) 11 world the moment we open our eyes, and the distinction between experience and… image …becomes rather blurry.” 21 In virtual art an important role is played by multimedia. Multimedia combines video and audio arts. It gives new opportunities for the new forms of art. Reality can be “irrealized” 22 (recalling thoughts of J.P.Sartre) 23 more realistically immersing more senses in it. In one moment video and audio material together can be synchronized. Contrast to text, picture (series of pictures) and sound are separable (can be asynchronous), they can exist one without the other thus be independent. We can watch without sound as well as listen without image. This first layer of the word – sound is inter subjective, but with one reservation – skill for reading and pronouncing. If the work of the VR is expressed in visual – sound technique it is inter subjective too, but any pre knowledge is needed, so it is accessible even for illiterate or other speaking person. Having these first impressions being in VR, we may go further to the second layer of the meaning. ii. Originally the second stratum stands for the meaning units. The meaning in the literary work becomes created reading the word or the text (we find “what is that everything about”). That is the meaning which was hidden under the graphical form. Reading the text a person’s imagination is in use. He/she cognizes the word, in the text they may also recognize adequate images, objects of reality which appear in the imagination of that person while reading. But in visualization / sound form the imagination let us say of the programmer is already realized. And the imagination of the player or user is “dismissed from the work”. You don’t need to imagine anything, everything is done. It is rather recognition of the adequate objects in reality. Then how we recognize these objects and processes going in the VR? First of all these virtual copies of the objects should look real like. And the creators especially of the simulators are seeking to portray objects and thus create synthetic reality as accurately as possible. An object portrayed in the virtual environment has simple naming or
21 http://www.dyske.com/index.php?view_id=812 (04.27) 22 Ж. – П. Сартр, Воображаемое. Феноменологическая психология воображения. (Санкт Петербург: 2001) P.313 23 “Irrealization” we may interpret as a realization of a person’s intentions, desires, but in artificial matter, that is virtual reality. 12 reference, allusions to the real one; that is “the intentional directional factor”. Another thing is the properties of that object, its material features .24 Recalling the thoughts of René Descartes the essence of body, object is its extension; other things which belong to it are the properties of it. 25 The same can be applied in the VR: the virtual object consists of the graphical form and color although an attribute as sound can be added to it. The main condition to recognize that object is its pure form, silhouette, and that should be enough, but the properties, like coloring and sound added to the object makes it more aesthetically fascinating. Even fictional unreal objects (like monsters, demons) can be recognized from their separate details (e.g. mythic chimera – with the head of lion, body of a goat and the tail ending with the head of the snake etc.). VR gives opportunity for that quasi experience, quasi , because in reality those kinds of organisms (objects) are unavailable, meanwhile literature would give us a description of this fantastic creature. When we recognize these objects in VR, we find ourselves in that artificial space; video games and simulators make them accessible. But that is not enough. An important role is reserved for self identification (as we had already discussed above) with the represented subject or object in the VR. Now, how that recognition of the other becoming you (decision that there is other) will come about? – The key for that answer is the control of the virtual character, automobile or whatever. Pushing buttons, using drive wheel we put, extend our will on it and the virtual object submits to it. Everything else, which disobeys your will isn’t that you, it is independent virtual world with its own created rules, enemies (in the video games) and its limits. Enemies as well as allies can be recognized also by their ‘typage’26 that is by their appearances etc. Speaking about limits we have in mind not limitation of the technical matter, but rather cause consequence relationship. The player or user will be affected by his/her mistakes in the game (if the player will be not careful he/she may “die”) or using the simulator (point of which is to repeat the laws of the nature as more realistically as possible). You travel throw and explore this synthetic world. Then how do we recognize this travel – movement, step, speed? – It should be detected in the change of the space (space – is our computer’s screen, a display that our look can take). Space changes with the changing objects, thus it creates an illusion that we are going, running or driving a fast car (in simulators). 24 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.58 25 Edward Craig, Routledge Encyclopedia of Philosophy,Version 1.0,(CD ROM) (London: Routledge, 1998) 26 “Typage” a French word 13 Let us go to the third stratum of the literary work of art. iii. Schematized aspects or “intuitive appearances” 27 in the literature. What about VR? The scheme is like an empty mosaic and it should be understood as the thought in the literary work of art that can be pure intentional object. Thus it has no connection with experience, fullness and concretization. So, even though there are no concrete objects of reality, but the schemes, the meaning is being understood as really existing. For example, the title of the literary work as well as the title of the video game or the simulator is a scheme. Usually it gives us only an abstract naming, form (such are the titles of the video games and the simulators: “Pandemonium”, “Doom”, and “Need for Speed” or “Microsoft Flight Simulator”). But the differences begin in the level of contents. The schemes may be found in the entirety of any literary work of art. We may even argue that operating by abstract forms (schemes) is one of the most important modes of the being of the literary work of art. Again, the imagination of the reader is in use. Talking about the situation in the virtual reality except of the title it would be difficult, in Ingardenian sense, to find such a thing as a scheme in VR. Visual – sound medium gives a virtual experience, an opportunity to see or hear an object or a character of represented reality. Again, imagination is “dismissed from the job”. Consciousness has only to receive these impulses from the outside. Back to the metaphor of mosaic, that thing would be not possible without components (small pieces); the same as the literature and in the work of computer, the schemes are needed to be filled in, concretized. Thus we leave the third stratum and reach the final, the fourth layer. iv. A world of ‘represented entities’28 . That is filling of this work by clear represented objects, events etc. (conceptual meanings 29 ).
27 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.61 28 http://plato.stanford.edu/entries/ingarden / (04.20) 29 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.61 14 The main role for filling out the scheme is played by concretization. That is filling out the “empty spots of indeterminacy” 30 for the person who tries to cognize the literary work. There are some choices concretizing a literary work. The author himself/herself may stress and show some properties of the entity (fill in the scheme of the work). Thus represented objects, events or whatever are not fully determined, they may have “a limited number of qualities” 31 in contrast to real objects (which are fully determined, new determinations of it are available). Also the reader always creates his/her concretizations and it may be very subjective factor, “different concretizations remained possible” 32 . In that case Ingarden gives us an illustration of the streets of Paris. “If the reader – knows Paris – it is possible he/she will “imagine”… …the Parisian boulevard in the night illumination” 33 That means “Only a person who has been to Paris can imagine… the streets …in their concrete actuality: a person who has never been to Paris will have to fill these empty spots by drawing on his possibly very different experiences of streets in other cities.” 34 The concretization is maximized in VR and it is always in front of our eyes. It is not surprising, because these objects are the visual representatives. Exact visualization gives as many details as possible about the object, the event. A programmer realizing his imagination tries to create a detailed virtual world (especially in the simulators). That is even a mission for the creator of VR to leave as few “spots of indeterminacy” as possible. Illustrating that situation the first example that comes to mind is, already discussed, namely three dimensional technology. We may argue, that 2D still requires the anticipation, the imagination of the player, the user to imagine “how does the other side of this object looks like”. And 3D offers a possibility to rotate an object in various angles, thus we can see all the dimensions of it, and we don’t have to imagine. The concretization of an event in VR is also in front of our eyes, in the literature such actions as “running”, “driving a car” is described in words, while in VR we can watch and also join that motion, event (it is a matter of finding “yourself” in the space of display in the connection with other virtual objects). Sure, we do not get absolute concretization in VR, but the fact is that the ideal of the programmers, designers, engineers is a maximum concretization in the video games and the
30 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.60 31 ibid. 32 http://www2.eng.cam.ac.uk/~tpl/texts/resolution.html (05.24) 33 Roman Ingarden, O poznawaniu dzieła literackiego “ (Warszawa, 1976) P.62 34 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.61 15 simulators. A computer game which has not to be a copy of real objects (as it accepts fantasies) in contrast to computer simulator is and always will be richer of “empty spots” (metaphors, puzzles, ambiguities, anticipation etc.). An important aspect which separate reality from the virtual is the experience of time (a temporal category). Real time we experience as a whole that is continuous and solid (“a continuous stream of experience” 35 by H. L. Bergson). Our real time has measurements (years, days, hours, seconds etc.) and measures (calendars, clocks) that’s why it is objective. We may find similarities simulating the time in the types of computer games called “Real Time Strategy” (RTS). As the other games, that type has its own simulated spatial aspect, but the time of story and action are continuous and solid. That makes the player to be identified with and immersed in virtual reality. Despite of that VR as well as any work of art has its own internal time. That time isn’t subordinated by any constants, measures or measurements. It is an experiential phenomenon. When we play the video game or read the work of art, it immerses us in it, it seems like the work usurps us, but the objective time is passing by. In the computer games as well as in the movie or in the literature we are immersed by these works’ own time plot. The plot of the game can be understood as a series of action in time. That means the standard game has its own storyline (some of them may have two or even more, possible switch between the characters) like the movie. The different sense of the time can be illustrated by this funny example that was given by Albert Einstein when he was asked how we can understand his theory of relativity. Einstein answers: imagine the minute spent with your beloved woman and imagine that spent minute holding your hand on hot stove. In the first instance the minute feels like trice, but in another it would be a whole eternity. Playing, using the simulator we transcend ourselves, where “external time” vanishes. VR steals our time, with some reason it is called a “killer of time”. As we have already mentioned real (objective) time – continuous and in virtual reality it is represented and isolated. Each passed moment can be resurrected there, restored becoming vivid and actual. That is why a work of art is a legacy; it has a “conserved time” inside, which can be presented any time, that is why it is possible to experience it again and again (to read a book once again, to replay video game). Every time the replayed video game can be experienced in the new way as well as literary work of art. Roman Ingarden uses the distinction between meaning (Ger. Sinn) and reference (Ger. Bedeutung), a distinction that was originally introduced by German logician Gottlob
35 Edward Craig, Routledge Encyclopedia of Philosophy,Version 1.0,(CD ROM) (London: Routledge, 1998) 16 Frege. 36 The sense of the work of art is constant; it never changes, but the reference changes through the time, through history acquiring new interpretations. New epochs, other situations give new concretizations, meanings, to the work of art; a good example is William’s Shakespeare’s “Hamlet”. This classical masterpiece is inexhaustible till our days, artists don’t cease to interpret and make concretizations in the new light. All these four layers are inseparable one from each other; they are in the words of Ingarden an “organism” (“organic unity”) of the literary work of art. In the end of our reading we synthesize all four strata into one, inseparable, thus it is solid. The same can be said about VR. We experience synthetic world of computer as a whole and not partly. Each of these strata has an aesthetical value and compatibility of these parts creates polyphonic harmony. “…much like a piece of polyphonic music in which each singer’s voice may lend aesthetic qualities of its own to the value of the whole, while the greatest values of the work as a whole may lie in the intricate interrelations among the values of all of the individual elements.” 37 And now we come to the second objectivity of this work “May a work of Virtual Reality such as video game and simulator – be called work of art?” Will these four layers and their values, which were analyzed already, give us the answer to our question? Let us find out.
36 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.63 37 http://plato.stanford.edu/entries/ingarden/ (05.14) 17 2. IS VIRTUAL REALITY (SPECIFICALLY SIMULATOR AND VIDEO- GAME) A FORM OF ART? “It’s not just a game” (Slogan of the Sony PlayStation)
2.1. The Aesthetical Values of VR.
In that part of the essay we will be concerned on the aesthetical values of the VR. We should stress some points about the creators of VR. VR is the art (faculty, skill) of the programmer. That notion could be applied for the “electronic artist” of the simulator or video game. There is a famous company which produces video games, simulators “Electronic Arts”. The name of that company is a good presentation what today’s creators of virtual reality are doing, they are modern artists, whose paintbrush and device is a computer. But may this phenomenon of the “electronic art” be understood as a new form that is a sequence of the traditional art (with all of its aesthetical values)? To make it more clear let us have a look into aesthetical values of the work of art. Naming this chapter “The aesthetical values of the VR” we have in mind ‘a pure quality’38 of the represented object in VR. These qualities contribute creating aesthetic values of the work. Ingarden accentuates that is not the aesthetical object itself that gives us an enjoyment, but its pure quality which is isolated from the object. 39 All this work viz. schematic structure (unchangeable “skeleton”40 sense of the work) should be done by the artist, and the task for the perceiver is to consummate it (putting his/her concretizations), like in a blank mosaic. All four layers discussed above contribute to the creation of these pure qualities of the object. These layers have their order and are inseparable, as we see in VR: first layer – displayed/heard object, in the second one – this object is recognized, the third and fourth layer stands for the scheme and concretization of that object. We should make some stresses according to the notion of concretization. As already had been mentioned concretization has two sides: the
38 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P. 67 39 ibid. 40 ibid. P.68 18 player/the reader and the programmer/the author of the literary work. A special duty is for the artist who through know harmonious details give consistency to the work of art. Sometimes detailed concretization id est. a representation of the object in full scale, with all of its properties gives a piece of art (it is valid for any kind of art) weight, even difficult to comprehend as well as vice versa (lack of some important details) makes it poor. Work of art may lose aesthetical value. That is why if the condition of harmonious details consistency is satisfied the interflow of all strata creates a quality of harmony (also called “polyphonic harmony” by Ingarden 41 ). In addition to the polyphonic harmony of a work of art, an important role is played by Ingarden”s notion of “metaphysical qualities” 42 such as “the sublime, the tragic, the dreadful, the moving, the inexplicable, the demonic, the holy, the sinful, the sorrowful, the indescribable serenity of happiness, as well as the grotesque, the charming, the light, the peaceful.” 43 These qualities, which are not “properties” of objects or “features” of some psychic state, give deep experience, catharsis as a result of the work of art. “…they are revealed in the complexes of situations and events as special atmospheres that envelop people and things in a special light. These qualities produce particularly shocking effects, their occurrence is perceived as grace and for those involved in them their revelation is the climax of their existence. Regardless of whether their value is positive or negative, their revelation is in itself something positive, because these qualities enable one to experience the extreme, sharply juxtaposed to the grey routine of everyday life. The idea of the work never claims to be true; it is embodied in the work of art like the proportion between the concrete life situation and the metaphysical quality expression.”44 Not accidentally in the quotation above we find the word “true”. Truth can create an aesthetical value. “Truth” always has allusion to logic. Straight away we may argue every video game, simulator or any work of art has its own logic. Here “logic” – understood as an order, as its own way of thinking. But we are talking rather about logic of VR in the sense of adequacy to Reality. The simulators can be attached to the direct sense of logic that means that all objects and actions “seek” to coincide with facts (forms, laws of nature). The good example is a flight simulator for training, where even surroundings and objects that are realized in it can be found in reality. That can be more or less an identical copy of actuality. Other simulators, which ignore 41 RenÉ Wellek, Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981) P.58 42 ibid. P.61 43 Roman Ingarden, The Literary Work of Art trans. George G. Grabowicz (Evanston, ILL.: Northwestern University Press, 1973) P.290 91 44 http://a r c.gold.ac.uk/a r c_Three/printexts/print_janez.html (05.14) 19 some facts (like real surroundings), but keep other possible aspects of reality are rather games than simulators for training. For example one of the most prominent series of the racing games “Need for Speed” (non existing downtowns of the cities are created). In contrast to the first example, this one connects fact and fiction . Here “fiction” exists as a free combination of the facts. These two examples are some kind of realism naturalism in the art. Back to our question of the aesthetical values, we may find all four layers in the work of simulator (or game simulator) maybe even quality of harmony in it. The concretization is maximized in these works; there is nothing to add and nothing to take from it. Any metaphysical qualities are available, because the sense of the work is equal to the meaning of the work that means there is nothing behind these works. All the video games can be found in the category of the fact and fiction. Here fiction plays even bigger role than fact, becoming fantasy. A video game has some similarities to a work of art; it may be completely fantastic and be very far from truth, though a video game is realized logically (by programming rules, mathematical calculations). But the strange virtual environment of the video game can be hard to recognize, thus it may require the strivings to do that. The sense is realized by the creators, but the meaning is opened for the new interpretations for the player (recalling meaning concept of G. Frege). Metaphysical qualities here are also available, especially to those games which have the storylines. For instance, a series of the adventures of the ninja in the video game – “Ninja Gaiden” where we can find not only elements of the drama, but also elements of the tragedy. In the video games we find not truth, but maybe other types of truth – such as an idea. An idea of the video game may be a wish of its creator to express the deep feelings of the virtual character. But we can not to forget the main idea of the game itself. Behind the game there is nothing, it is self sufficient, it does not provide any pragmatic aspects. It may be as an escape from the daily life as well. The game is for the gaming! “Play is, as it were, existence centered in itself…” 45 – argues Eugen Fink. In contrast to any work of art it also has a quality of the goal: the strivings to win (the battles in virtual form, the interaction with virtual opponents). The winning, the conquest may give an experience of joy, happiness, but not the deep feelings in the metaphysical sense, because these moods (playing the game) are dependent from the object, id est. the game.
45 http://alangullette.com/essays/philo/game.htm (04.12) 20 2.2. VR – as a Product and a Work of Art. We may argue that our philosopher Roman Ingarden had found real aesthetical values which can be used even by professional critics of art to decide whatever it is a piece of art or only an everyday product. The video games have broader spread than the simulators. The reason – simulators are the tools for the professionals. VR simulators can solve many practical problems and that is their final purpose. Simulators are also imitators of Reality that is why they have nothing to do with the notion of the work of art 46 . In the whole text we were avoiding of the term – “product” deliberately, but now as we try to sum our thoughts, we are using it applying to the video game. The video games became the products in the shops, even mixed with the food stuff. That means they may have only economical, financial aspects. The market is fulfilling the needs of consumers and the competition fights between companies are going on. On the other hand, the analysis of this essay showed that video game may have the aesthetical values thus becoming more than just a game: metaphysical qualities make the work worthy for the name of art. The computer games in time are becoming nostalgic pieces of art; it is even a legacy as well as any work of art might be. However, we leave our question open for the professionals, but this time narrowed to the video games question: may video game be called works of art? Virtual Reality is made unifying mind and imagination. That is the place where scientific knowledge meets aesthetical expressions. New art forms based on computers are challenging the old (traditional) forms of art. And the professional programmers, together with the designers or even the engineers are becoming some kind of virtual medium artists.
46 A work of art should be understood in the sense of a traditional art here. 21 CONCLUSIONS The first objective of this essay was the cognition of the Virtual Reality. We found: 1) Interaction is the first step in the cognition of the VR; 2) We tried to apply the theory of the layers (specifically of the Literary Work of Art), by Roman Ingarden: i. the first stratum stands for the video – audio formation of the virtual objects; ii. the second layer – recognition of the objects; iii. the third and the fourth strata shows the relationship between scheme and concretization of the objects in VR; The system of layers helped us deduce the aesthetical values of the VR: polyphonic harmony and metaphysical qualities. These aesthetical qualities may answer to our second objectivity : “Is computer simulator and video game – work of art?” And we found: 3) Simulators are not the works of art, as far as their purpose is practical training; 4) Video games are ambiguous: on the one part they are products of the mass culture, on the other part – they may have all the aesthetical values, mentioned by Ingarden. Thus the fourth conclusion is left opened for the interpretations.
22 Bibliography • Baron, Robert A. Psychology (MA: A Viacom Company, 1998). • Briggs, John C. Virtual Reality Is Getting Real: Prepare to Meet Your Clone. “The Futurist” Volume: 36. Issue: 3. Publication Date: May 2002. • Brown, Stuart et al. Biographical Dictionary of Twentieth Century Philosophers (London: Routledge. Place of Publication: 1996). • Chojna, Wojciech. Ingarden, Roman Ontology of the Work of Art: The Musical Work; The Picture; The Architectural Work; The Film. “The Journal of Aesthetics and Art Criticism” Winter90, Vol. 48 Issue 1. • Craig, Edward. Routledge Encyclopedia of Philosophy,Version 1.0 (CD ROM) . (London: Routledge, 1998). • Deutsch, David. The Fabric of Reality (London: The Penguin Press. 1997). • The Columbia Encyclopedia, Sixth Edition (New York. 2004). • Ingarden, Roman O poznawaniu dzieła literackiego (Warszawa, 1976). • Ingarden, Roman The Literary Work of Art (Evanston, ILL.: Northwestern University Press 1973). • Ингарден, Роман Исследования по естетике (Москва: ИИЛ, 1962). • Wellek, RenÉ Four Critics: Croce, Valery, Lukacs, and Ingarden . (Seattle, WA: University of Washington Press, 1981). • Ж. – П. Сартр, Воображаемое. Феноменологическая психология воображения. (Санкт Петербург: 2001).
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• http://alangullette.com/essays/philo/game.htm
• http://a r c.gold.ac.uk/a r c_Three/printexts/print_janez.html
• http://www.dyske.com/index.php?view_id=812
• http://www2.eng.cam.ac.uk/~tpl/texts/resolution.html
• http://plato.stanford.edu/entries/ingarden/
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